Deborah Simpkin KingArtistic Director

The Exciting Conclusion of our 12th Season…

Cinco De Mayo Celebration Choral Music of Colonial & Contemporary Mexican Composers

Friday, May 4: Christ & St. Stephen’s Church, 8pm • New York City

Spring is in the Air Brahms’ Liebeslieder Walzer & Dvorak’s Songs of Nature

Monday, May 14: The Actors’ Chapel, 7:30pm • New York CitySunday, May 20: Holy Rosary Church, 4:00pm • Jersey City, NJ

Now accepting applications for our Choral Scholarand Cantorum Kids programs.

For more information about our performance and educational offerings, please visit www.scholaonhudson.org.

Sacred BridgeExploring the Judeo-Christian Choral Connection

Sunday, March 11, 2007 Caldwell College • Caldwell, NJ

Sunday, March 18, 2007 Holy Rosary Church • Jersey City, NJ

Monday, March 19, 2007 The Actors' Chapel • New York City

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March 2007

Dear Music Lover,

Inspiration for forming a concert around shared elements in the sacred music of the Jewish and Christian traditions arose several years ago, out of our enormous enjoyment of a concert we called “L’Chaim!” So much wonderful music was found—more than one concert could possibly hold!—and so many unexpected connections with the sacred music of the Christian tradition,

which is the basis of most academic music training. We hope you will enjoy discovering both the tangible liturgical and stylistic connections, and those ‘spiritual connections,’ which may be less obvious at first glance, but are equally real. We certainly have enjoyed exploring them.

It is a very special pleasure for us, as we increasingly expand the radius of our activities, to be making our first appearance on the beautiful campus of Caldwell College. As a first-year member of the music faculty at Caldwell, I find the coming together of these two fine institutions a particularly positive thing. We continue to enjoy our two beautiful “home venues,” The Historic Holy Rosary Church in Jersey City, and St. Malachy’s Church, the Actors’ Chapel, in Manhattan. Doors open to music-making designed to have a profound impact in the lives it touches are collaborative blessings, indeed!

I would especially draw your attention to our reprise of last June’s concert of Mexican music, planned for the eve of Cinco de Mayo, on the Upper West Side. We are very excited about this special invitation from composer Max Lifchitz, and hope you will join us for that singular presentation. You will find details on the back cover of this program booklet. On our mid-May concerts, we are very pleased to be in collaboration with the women’s choir from Nutley High School, under the direction of our own rehearsal accompanist, Ms. Nicole SanGiovanni. You won’t want to miss out on that very special event!

As you read through this program booklet, you will see evidence of lots of activity on the part of many talented, energetic individuals who believe in the importance of growing the arts in our society, and in our specific contribution to that mission. You should also know that there is plenty of room for you! Whether as an auditioned singer, active worker in the “business” of Schola Cantorum on Hudson, philanthropist, or consistent audience member, you will find a warm welcome as part of the expanding SCH family. Please seek out any one of us after the concert to express interest in additional involvement in our activities.

We are so pleased that you are with us today, and we look forward to seeing you in May, if not before.

Good music to all!

Deborah Simpkin KingSCH Artistic Directorcantate@DSKsing.com

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on the choice of our title...The title, “Sacred Bridge,” was point-blank lifted from Jewish music scholar Eric Werner’s seminal two-volume monograph subtitled “The Interdependence of Liturgy and Music in Synagogue and Church during the First Millennium,” emanating from the middle of the 20th century. Since the time of this publication, Werner expanded on his own research in this area (at the time of his death in �988 he was at work on a third volume), as have a number of other scholars, bringing to light a vast body of music hitherto little known. We are all beneficiaries of this work!

Our journey today, however musicologically inspired it might have been at its outset, is one of sampling and enjoying. If our choices lean a bit in the Jewish-heritage direction, it is out of our delight in material possibly lesser-known. Yet fine composers of sacred music in the Christian tradition are certainly in evidence, as well. As you join us in this journey, we encourage you to open yourselves to less obvious, deeply intrinsic “bridges” between the two related musical and spiritual traditions, as well as to those connections that are externally and historically documentable.

We hope this music will nurture you as it has us. And, just perhaps, we can think expansively enough to believe that art can, indeed, make a contribution to world peace! See if this stunning music doesn’t help you believe…at least a little.

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Auditing Tax Preparation

Tax Planning Estate Planning

Financial Planning Business Valuations

Litigation Support Services

Management Services

We Congratulate Marlene Karu and Schola Cantorum for Bringing Beautiful Music into our Lives.

333 Eisenhower Parkway Livingston, New Jersey 07039

Tel. 973.992.9400 Fax 973.992.0566 Contact: Michael H. Karu, CPA

email mkaru@ljcpa.com www.ljcpa.com

Member of American Institute of CPAs and the New Jersey Society of CPAs

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We would like to thank the following for their generous commitments to our 2006–2007 season

Archangel ($5,000+)Mr. Trayton & Dr. Maris Davis

Salvatore A. Diana

Guardian Angel ($2,000+)Jim Gard

ExxonMobilSalvatore Spataro

Penelope Vance & William Hobbie IIIAlexander Wentworth

Roger & Mary Lou West

Angel ($1,000+)Daniel Brondel

Caroline L. SargentSophia Zalios

Benefactor ($500+)Allstate NJ Insurance Co.

Mr. and Mrs. George A. SargentGeorge MeltzerTime Warner

Sponsor ($250+)Gordon KingJoyce Nestle

Patron ($100+)Frank BorrotoLaura Clayman

Deborah Simpkin KingBlair MacInnesSandra MartinyDiane MichaelLeslie Penny

Arlene PollackRichard Taub and Betty Farrell

The Wachovia FoundationThomas G. Whittemore

Donor ($50+)Max Lifchitz

Paulina K. and Robert MarksKaren Lea Siegel

Friend (up to $50)Carol and Al Branchi

George ConnollyCindy Darling

Sherry KosinskiNikki Li Hartliep Lawrence & Murray E. Lopdell Lawrence

Monica NeblettMichael Ricciardone

Jean White

Golden Benefactor ($10,000+)The Frank and Lydia Bergen Foundation

Seraphim ($7,500+)The Provident Bank Foundation

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You can make a difference!We are delighted that you attend and enjoy our concerts. These musical offerings and our educational program require a considerable amount of effort—and funding. Fortunately, more than half of Schola Cantorum on Hudson’s annual operating budget comes from generous gifts from people like you!

We invite you to join us by contributing to our 2006-2007 Annual Fund. In this way, you will help us in continuing to provide the highest quality choral and educational programs for Hudson County, New Jersey and the New York metropolitan area.

How do you make a gift to SCH? Annual Fund envelopes are available at the reception area. Simply fill one out and include a check made payable to Schola Cantorum on Hudson. You can also make a donation online at http://www.scholaonhudson.org, by following the Giving link on the left-hand side of the page. Or mail your tax-deductible gift to:

Schola Cantorum on Hudson P.O. Box �9��

Jersey City, NJ 07�0�Thank you for your interest, your attendance, and your enthusiasm.

We are grateful for your support.

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Sacred Bridgenotes by Dr. Deborah Simpkin King

“…cultures are more precious than states: cultures can enrich one another; states can often only fight.

Music is the most intimate and revealing expression of a culture.” —Yehudi Menuhin

Among those with awareness of choral music, it is well known that Samuel Barber’s Agnus Dei is a secondary incarnation of the middle movement of a string quartet, later excerpted and arranged for independent performances under the title Adagio for Strings.� Among a wider population, the work—whether in vocal or instrumental form—is recognizably familiar, having underscored

numerous popular films (among the many: The Elephant Man, Platoon, and Schindler’s List), and having become a staple of music for notable requiem services (among them, those for Presidents Kennedy and Roosevelt, and Princess Grace).

Why do we so frequently turn to Barber’s Adagio/Agnus Dei as “underscore” for emotion-packed chronicles and events? Perhaps we might say that…

…it effectively speaks the heart’s deepest emotions, and is far more expressive than words; or

…it helps remove us from external distraction, focusing and uniting mind and heart; or

…it helps cleanse and nourish the hungry soul, facilitating a wonderful emotional release…

And, so defined is the Chasidic tradition of nigunim (“songs that transcend words, into a spiritual dimension”). Perhaps that is also a musical incarnation of the New Testament’s “speaking in tongues.” Indeed, all are in their fundamental form vocalizations without comprehensible text. Barber’s passionately compelling composition is brought to you today in what was its original, and perhaps most spiritual design, as a song without words, in the tradition of the nigun.

� In �9��, when Barber was in Rome, having won the Prix de Rome and two Pulitzer Travel Scholarships, the young composer met the renowned conductor Arturo Toscanini. Barber wrote his string quartet the following year, and sent the slow movement to the conductor for review. A short time later, Toscanini returned the score to Barber without comment—a transaction that annoyed the composer enough to ultimately inquire. Toscanini replied that he returned the score because he had memorized it—and subsequently presented its premiere in �9�8 (adapted by Barber for full string orchestra) with the newly-formed NBC Symphony Orchestra under the title Adagio for Strings. The Agnus Dei Mass text was set to the music in �967 for unknown reasons, producing a choral composition that has been assessed by those who have prepared it as “intimidating” and “gorgeous music…impossible for voices.”

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Readings from Scripture, psalms, and prayers formed the basis of daily synagogue services during the time surrounding the destruction of the Temple (ca. 70 c.e.), and evidence suggests that early Christians continued in these customs with little interruption, pausing for prayer probably at four times during the day. The importance of chanting even the lessons is evident from the famous remark of Rabbi Jochanan recorded in the Babylonian Talmud: “He who reads the Scriptures without melody and the Mishna without song, of him it can be said as is written: ‘the laws I gave them were not good.’” In a tradition of chant which would remain orally transmitted until around the beginning of the second millennium, the connection of study and singing no doubt served as a valuable means of memorizing, as well as of interpreting the law. Despite much that is not known, we do know that the early Christians took from the Hebrew services not only regularity of observance, but, additionally, responsive (soloist, answered by ensemble or congregation) and antiphonal (ensemble answered by a different ensemble or congregation) forms of singing; an organized system of modes (similar to our major and minor scales); the connection of various modes with certain ethos; and an unchanging manner of performing many well-known texts.

I Liturgy: Hymns, Psalms, and Prayers

The connection between specific liturgical texts and the various modes and psalm tones has very clear continuing use in the Christian tradition, and was likely transmitted to the Christian church mainly by cantors, to whom there are some epitaphs in the Roman catacombs. There is evidence from the �th and �th centuries of instances in which Jews and Christians chanted together, and in the later Middle Ages, Jews sometimes adopted Gentile melodies, hymn tunes being especially popular.

The chanted melodies for psalms and prayers with which the earliest Christians were naturally familiar went with them as the new religion separated itself from the old and was carried into new lands. Over time, those melodies evolved and were codified into the haunting, cool beauty of Gregorian chant. One of the best-known melodies of the Jewish hymn ‘Alenu’ is identifiable in Sanctus IX in the Liber Usualis, from the mass known as the Missa Marialis in Anglican tradition. The Sanctus will be sung today in Latin.

Early Temple tradition suggests the use of eight “regular” psalm tones, and one irregular one, which ultimately came to be known as the Tonus Peregrinus, or “wandering tone.” Its irregular, or wandering, element is the fact that the first half and second half of each verse are sung to different pitches—which is not the case in the eight other psalm tones. The association of the Tonus Peregrinus with the Passover season (specifically, with the singing of the Hallel, Psalms ��2–��8) is a remnant of ancient Jewish tradition which continues today, not only for Passover, but also in the Christian Great Vigil of Easter. Highlighting the traditional antiphonal presentation of this text having to do with the departure of Israel from Egypt, the “wandering” nature of its psalm tone, and also its representation of the Sacred Bridge between ancient Jewish and Christian customs, Psalm ��� will be sung macaronically (that is, including more than one language), with Hebrew and Latin in alternation.

A piyut is a liturgical poem, or metrical hymn. Ovadyah HaGer literally means “Obadiah the Proselyte,” and was the name assumed by a Norman nobleman who converted to Judaism in ��02. Whether he composed, or simply wrote down what he heard someone sing, Mi Al Har Chorev (On Mount Horeb) is one of the earliest

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noted examples of Hebrew chant. The style is not unlike contemporary Gregorian chant of the time, nor is it dissimilar to modern day chant of North African Jews. Although the exact rhythmic structure is conjectural (rhythmic notation was just beginning to emerge in the early �2th century), it is clear that some rhythmic element was part of its presentation.

Maoz Tsur is one of two melodies transcribed by composer Benedetto Marcello when he visited several Venetian synagogues early in the eighteenth century in search of ancient Hebrew music. He subsequently set the melody imitatively as a motet. We present it today in its original monophonic form.

The Sh’ma Yisroeyl is one of the oldest prayers, going back to the days of the Temple, and expressing the central doctrine of Judaism and, later, Christianity: the belief in the One God. There are many settings of the prayer, which is also Deuteronomy 6:�. Vinaver’s four-voice setting is based on an Ashkenazic cantillation, and is an example of traditional responsorial chanting—a soloist’s cantillation, followed by an ensemble’s response.

Sim Shalom is another traditional prayer used in Saturday morning services. Janowski has set the prayer in the responsorial style (alternation between cantor and ensemble) still used today in both Jewish and Christian services of worship. The improvisational style given to the cantor is reflective of traditional cantillation.

II Musical Style: The Age of Humanism and Assimilation

Although some periods and locales in the Middle Ages provided adequate social and economic conditions for the Jewish community, the Catholic Church was the spiritual center of all Europe, and it was largely through that institution that the development of poetry and music flourished. Polyphonic compositions (pieces having multiple voice parts) began to emerge in the ��th and �2th centuries primarily in France, at the hands of the masters of Notre Dame de Paris. Jews, having no place within the realm of church music, were not part of this development, and it was eventually through the secular polyphonic art of wandering Jewish minstrels (Spielleute) that musical and poetic creativity flowered within the Jewish community. Both this folk music as well as the influence of Christian church music were felt in the synagogue where, through the Middle Ages, there was little difference between popular song and music for the synagogue.

When the Jews were expelled from Spain in ��92, their musicians from synagogue and secular feasts took with them music that had been shaped in the Arabic-Hebrew-Christian-Iberian centuries of outstanding multicultural, scientific, and artistic achievements (beginning with the Arab conquest of Spain in the 8th century). One interesting and little-researched musical practice is that of the Marranos—Jews who pretended to have been converted to Christianity but had never really embraced it. A number of manuscripts have come to light that show that these secret Spanish Jews had actually developed their own liturgical practice. The three-part motet with which we begin our group of early polyphony was written around ���0 in northern Spanish notation, and contains words in Hebrew, Greek, Arabic, and Latin, as well as a number of unidentified, probably corrupted words, possibly representing a semi-secret code of the Marranos, to camouflage Hebrew liturgical texts before the dreaded Inquisition. The music is composed of three different tunes: the ancient Ashkenazic tune of the preamble of the Kedushah for the High Holidays in the top voice;

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the tune of the Gregorian hymn “Alma redemptoris mater” in the Contratenor voice; and a third voice that seems to imitate the shofar (the ram’s horn wind instrument, often mentioned in the psalms, which has a long tradition in Jewish worship).

Interest in Renaissance Italy in all things of ancient philosophical and artistic heritage brought an increased sense of value to the music of liturgical Judaism. Additionally, with the migration to Italy of Sephardim expelled from Spain and Portugal and of Ashkenazic Jews from northern European countries, the Jewish communities in Italy became universal Jewish centers. By the second half of the sixteenth century, many Jewish musicians distinguished themselves at the Italian courts (the Papal Court included), with Venice and Mantua as their places of outstanding activity.

Salomone Rossi (ca. ��70s–ca. �6�0s/�0s), who always added “Ebreo” to his name, holds a significant place in music history as a composer who was among the first to apply to instrumental music the principles of monodic song (melody accompanied by chordal structures, as opposed to the polyphonic style), and to develop the form and technique of variation. In the field of synagogue music Rossi was the first composer to attempt complete reforms in the style of traditional liturgical music. So revered was Rossi in the Mantuan court that, in �606, he was absolved from having to wear the yellow badge prescribed for the Jews (an exception very rarely made!).

As evidence of the assimilation of musical style developed through the Christian Church into music for the synagogue, Rossi’s synagogal songs preserve little of the traditional character of synagogue music, while containing veritable gems of choral music. His Ha-Shirim Asher Li’Shlomo, printed in Venice in �622, contains thirty-three musical settings of ancient liturgical texts. Elohim Hashivenu (Psalm 80:�), from that set, is in the style of the old-fashioned polyphonic motet, the same style as heard in the Latin motet, Super flumina Babylonis, by Rossi’s contemporary, Gentile composer Orlando di Lasso. Appropriately for our theme today, the motet is based on Psalm ��6, which is unparalleled for its realistic analysis of the emotions of a vanquished nation. Lasso, along with Viadana, was known to have had a strong influence on Rossi’s development. Eftakh Na Sefatay, from the same collection, is written in the poly-choral style popularized particularly in Venice, in which several ensembles (in this case, two) answer each other, sometimes joining together, resulting in large chordal structures.

III Mutual Interest: The Age of Emancipation

The Enlightenment which was sweeping Europe witnessed the emancipation of the Jewish community from the ghetto life, into full assimilation into cultural and intellectual life. Musically, the nature of synagogue worship underwent some drastic changes, led by such reformers as Salomon Sulzer in Vienna, Samuel Naumbourg in Paris, and Louis Lewandowski in Berlin, as Jews increasingly incorporated musical styles from secular and Christian arenas.

Tov l’hodos (Psalm 92:2–9) is Schubert’s only setting of a Hebrew text, and came about as a result of Schubert’s association with Sulzer in Vienna, who invited leading composers to contribute to a collection of liturgical music that would ultimately be published in �8��. While the beauty of the music is that which would be

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expected of a major master, Schubert’s minimal acquaintance with the pronunciation of Hebrew results in a setting in which musical accents do not always coincide with accented syllables in the text.

About Felix Mendelssohn-Bartholdy, a friend and colleague once commented, “He is the son of a Jew, but no Jew.” Raised in a family famous in the Jewish world, in which his grandfather was a major philosopher of the Enlightenment, Mendelssohn gradually abandoned all bonds with Jewish tradition, until his interest centered solely in Christian ideas and German music. In that respect, it is interesting to note the oppositional swing of the pendulum in the spiritual development of 20th-century composer Arnold Schoenberg—of Jewish blood, who came from completely Christian-assimilated circles, but was irresistibly drawn toward the values of Judaism late in his life. The popular chorus included here is from Mendelssohn’s oratorio based on the Old Testament story of the prophet Elijah.

In �8��, Louis Lewandowski was sent by his Jewish community in Berlin to study with Sulzer in Vienna, and for many years upon his return to Berlin conducted primarily the music of Sulzer. However, the construction of a new synagogue in Berlin, equipped with an organ, gave him reason to undertake the composition of a setting of the entire liturgical cycle for four-part choir, cantor and organ. It is from the �882 publication, Todah W’Simrah, that this setting of Psalm ��0 emerges.

That American Gentile composer Randall Thompson studied with Jewish composer Ernst Bloch is probably less significant than understanding that he studied and absorbed influence from all manner of music from the past, in particular. The careful listener will have no difficulty hearing the sometimes unbelievably similar passages between Rossi’s double chorus Eftakh Na Sefatay, heard earlier, and those in Ye Shall Have a Song. So it is with words from Isaiah, and in the ancient antiphonal style, that we close the first half of today’s journey:

“Have ye not known? Have ye not heard? Hath it not been told you from the beginning?

Have ye not understood from the foundations of the earth? Ye shall have a song.

Post-War Migration and EcumenismFollowing World War I, the center of world Jewry shifted from Europe to the Americas. Some Jewish musicians, often those either directly or indirectly the musical descendants of Sulzer and Lewandowski, were inclined toward strong reforms, and full assimilation of contemporary influences into new music being written for the synagogue. The influence of immigrants from Eastern Europe brought with them an interest in returning to tradition. Out of this disparity came productive interaction of American and Hebrew-Israeli styles, an interaction which would continue with vigor through the work of such notable composers as Bloch, Schoenberg, and Milhaud.

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IV Macaronic and Interfaith Creativity

Schola member Sherry Kosinsky and well-known American composer Alice Parker have both provided Hebrew/English macaronic settings of traditional Jewish texts. Ms. Kosinsky’s setting of a prayer of praise reveals her interest in and study of jazz theory in its lively syncopation, and makes use of a traditional responsorial structure (soprano line answered by lower voices).

Ms. Parker was commissioned by the American Guild of Organists in �999, for a setting of L’dor Vador for cantor and chorus. It was through her search for understanding of the text which was formerly unfamiliar to her that the macaronic setting emerged. While “framed” by unmetered chant, the contrasting middle section is based on a Chasidic folk dance.

V From the Song of Songs

The Song of Songs (also called the Song of Solomon) has provided text for arguably some of the most beautiful love songs ever written. In this six-movement setting from Chapter � of the Song of Songs, composer Yehezkel Braun’s dual interest in medieval chant and Israeli folk music are in full evidence. Born in Germany, Braun emigrated to Israel with his parents, where he graduated from the Tel Aviv Academy of Music. He has written for theater, ballet, concert stage, and cinema, in addition to writing music for voice.

Eleanor Daley combines portions of the Song of Songs and verses from the ��th chapter of the Gospel of John in her lovely setting. Schooled primarily as an organist, Ms. Daley composes largely sacred works for use in Christian churches, such as her own, Fairlawn Heights United Church in Toronto.

VI Prayer and Praise!

Moshe Wilensky (�9�0–�997, Warsaw, Poland) graduated from the Warsaw State Conservatory, and emigrated to Israel in �9�2, where he composed primarily music for theaters. Ultimately, he conducted radio and TV orchestras not only in Israel, but in the United States and Europe, as well. His compositions include film music, works for orchestra, and arrangements of Oriental folk melodies. An example of the latter, “Uri Tsiyon,” is a lively setting of Isaiah �2:�.

Bernstein’s relatively little-known Hashkivenu focuses on peace (shalom) in its outer sections, effectively combining responsorial texture between cantor and choir with a stile antico imitative motet style in the choral voices. The middle section is rhythmically strong, and dissonant where such concepts as “war” and “anguish” are portrayed. The resolution offered in the final E-major chord is tarnished ever so slightly with a very soft F# offered in the highest range of the piano, suggesting that, as peaceful as the assurance of God’s presence may be, not all is perfect in this earthly existence.

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Robert Starer’s necessarily rapid departure from Vienna in �9�8, at the age of ��, placed him in the Jerusalem Conservatory for continuation of his musical studies. While in the British Air Force, he was kept busy as a musician, after which he was admitted to the post-graduate program at The Juilliard School, where he then taught until �97�. Although his Hodu is dissonant for expressive purposes, it is also very compelling for its rhythmic energy and dramatic power.

And so we conclude for now our journey through shared roots in faith, and shared joy in song. As always, the singing membership and I, along with our marvelously visionary Board of Directors, wish for you every good thing, and hope that our music today has been one of those.

Source: Jewish Music: Its Historical Development.

Abraham Z. Idelsohn. NY: Dover Publications, Inc., 1992, p. 37

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About Schola Cantorum on HudsonSchola Cantorum on Hudson formed as an independent chorus in the fall of �99�. The group’s artistic mission is to enrich the life and the cultural awareness of the community by providing the highest quality of choral music and educational opportunities. Our outreach efforts include offering sight-singing classes to the community, our Cantorum Kids Program, and our Choral Scholar Program, in which local high school students of exceptional musical promise participate as full singing members of SCH. Our educational efforts extend to “inreach,” as well, as we have begun offering class voice instruction for a half hour each week prior to rehearsal. Besides a three-concert season, SCH participates in a variety of community events and is increasingly performing concerts beyond Hudson County, into Manhattan, and Northern, Central, and Southern New Jersey. The individual members of SCH have been drawn together by a shared love of great choral music and by a dedication to the highest standard of performance of that repertoire.

About Our Artistic DirectorDr. Deborah Simpkin King is a choral and vocal performer and educator, working primarily in the northern New Jersey/Manhattan area. As Founder and Artistic Director of the thirty-five-voice choral ensemble Schola Cantorum on Hudson, her choral work is favorably reviewed. She is the alto in the professional vocal quartet Chantez!, and Artistic Director of Cantate Domino, an independent choral ensemble drawing membership primarily from within the Episcopal Diocese of Newark, NJ. Dr. King is also Director of Choral

Studies at Caldwell College, and has an independent voice studio in the Glen Ridge/Bloomfield/East Orange area. She frequently guest-conducts and provides choral workshop sessions, focusing on vocal production, sight reading, and other matters of the choral art.

Dr. King holds a Ph.D. in Musicology (minor: choral conducting) from the University of North Texas; a Master of Music in Music Education (choral focus) from North Texas State University; and a Bachelor of Music in Vocal Performance (minor: choral conducting) from Texas Christian University. Her mentor of twenty years was Caro Carapetyan, whose choral work was the subject of Dr. King’s master’s thesis (Caro Carapetyan: His Choral Beliefs and Practices, �98�). Additional independent study has included work with Gregg Smith, Robert Shaw, Julius Hereford, Lloyd Pfautsch, and James Rives-Jones, among others.

Dr. King’s academic work has included graduate, undergraduate, and administrative posts on several campuses (Kutztown University, Jersey City State College, Tarrant County Junior College, University of North Texas, Rutgers University), teaching courses in music history, voice, sight singing, and choral conducting. She was the recipient of the �99� award “In Recognition of Outstanding Service to College and Community” award, presented by the Dean of the College of Arts and Sciences at Jersey City State College. As an interim professor at Kutztown University, Dr. King was nominated as the �997 “Student Organization Advisor of the Year.”

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Dr. King is also a published editor and writer. Her edition of full anthems by Baroque composer John Blow, published by Oxford University Press, has been very favorably reviewed (A Blow Anthology, �996). Her dissertation, The Full Anthems and Services of John Blow and the Question of an English Stile Antico, was honored with the �990 University of North Texas Graduate Dean’s Dissertation Award for Scholarly Communication.

For the past thirteen years, Dr. King has coordinated the annual High School Choral Festival for the New Jersey Chapter of the American Choral Directors’ Association. Under her tenure as Coordinator, the Festival has incorporated competitive sight singing, and annually commissions its own material for that event. She has served on the state ACDA Board of Directors for fifteen years. In addition to her activity with ACDA, Dr. King is also an active member of Chorus America, the National Association for Teachers of Singing, the Conductors’ Guild, and the American Guild of Organists.

Dr. King has two sons: Patrick Daniel, Associate Segment Producer with Comedy Central’s The Daily Show, and graduating senior in Broadcasting at Montclair State University; and Michael Alexander, a junior (and a tenor!) at Westminster Choir College, in Princeton, NJ, majoring in vocal performance.

About Our AccompanistNicole SanGiovanni is a 2002 graduate of the Mason Gross School of the Arts at Rutgers University, where she majored in Music Education. She currently teaches vocal music at Franklin Middle School and Nutley High School in Nutley, NJ, where she serves as choral director for the Franklin Middle School Chorale and Debonaires, as well as the Nutley High School Choralettes. Ms. San Giovanni has provided piano accompaniment for many vocalists and choirs in the NJ area, including the Rutgers Children’s Choir, the Region � Junior High School Mixed Choir, and most recently the Region � Women’s Choir under the direction of our very own Deborah Simpkin King.

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Singing Members of Schola Cantorum on Hudson

Schola Cantorum on Hudson happily welcomed Trayton M. Davis, Amit Khaneja, Ronald Seludo, and Ina Fontaine to our number this spring.

Interested in Joining Our Ranks? Know Someone Who Might Be?

Set up an audition with our Audition Coordinator, Daniel Brondel, at AuditionCoordinator@gmail.com, or by calling 9�7-779-9226.

More information about auditions is available on our web site at www.scholaonhudson.org.

SopranosCaroline L. Sargent, Section Leader �

Katherine Bolcar �Marlene Karu �

Sherry Kosinski �Kimberly Prins �Karen Lea Siegel

Gail Watson �

BassesSalvatore Spataro, Section Leader �

Daniel Brondel �José Candelaria

Victor H. ChapmanTrayton M. Davis

Jim Gard §Gilberto Gómez �William RichertRonald SeludoRoger West �

AltosSara Solberg, Section Leader *

Laura ClaymanCynthia Darling

Rebecca DeFelice §Ina Fontaine

Sandy MartinyJoan MacPherson §

Diane Michael §Joyce Nestle �

Bernadette OberndorfNeela R. Taub

TenorsSalvatore A. Diana, Section Leader �

Frank J. BorrotoAmit KhanejaGordon King �

Alexander Wentworth �

* Schola Repertory Singers§ Singers on leave

AccompanistNicole SanGiovanni

RecorderJ. Mark Dunn

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This program is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a partner agency of the National Endowment for the Arts, administered by the Hudson County Office of Cultural & Heritage Affairs, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.

ProgramPlease silence all cell phones, pagers, watch alarms, and other electronic devices.

This concert is being recorded for anticipated future release. For this reason, during the first half of the concert,

please hold your applause until after the pieces marked with a ❦.

Thank you!

I—Liturgy: Hymns, Psalms, and PrayersAgnus Dei Samuel Barber

Katherine Bolcar, soprano

Sanctus IX (Alenu) Liber UsualisPsalm ��� Tonus Peregrinus

Daniel Brondel, Latin cantor; Joyce Nestle, Hebrew cantor

Piyut (hymn): Mi Al Har Chorev Ovadyah HaGerDaniel Brondel and Bernadette Oberndorf, cantors

Maoz Tsur Ashkenazic melody, transcribed by MarcelloPrayer: Sh’ma Yisroeyl (Deut. 6:�) Chemjo Vinaver, arr. Deborah Simpkin KingPrayer: Sim Shalom ❦ Max Janowski

Salvatore A. Diana, tenor

II—Musical Style: The Age of Humanism and AssimilationCados, cados Anon., Chansonnier Sevilla, F-Bn nouv. Acq. Fr. ��79Elohim hashivenu Salomone RossiSuper flumina Babylonis Orlando di LassoEftakh Na Sefatay ❦ Salomone Rossi

Trio: Gail Watson, soprano; Katherine Bolcar, alto; Roger West, baritoneQuartet: Sherry Kosinski, soprano; Neela R. Taub, alto; Salvatore A. Diana, tenor; Salvatore Spataro, baritone

�7

III—The Age of EmancipationTov l’hodos (Psalm 92:2–�0) Franz Schubert

Quartet: Gail Watson, soprano; Katherine Bolcar, alto; Salvatore A. Diana, tenor; José Candelaria, baritone

Gilberto Gómez, baritone solo

He, watching over Israel Felix Mendelssohn-BartholdyHalalujoh (Psalm ��0) ❦ Louis Lewandowski

From The Peaceable Kingdom ❦ Randall ThompsonHave ye not known? (Isaiah �0:2�)Ye shall have a song (Isaiah �0:29)

IntermissionIV—Macaronic and Interfaith Creativity

Ein k’Eiloheinu ❦ Sherry Kosinski An American Kedushah ❦ Alice Parker, arr.

Kimberly Prins and Salvatore A. Diana, cantors

V—From the Song of SongsShir haShirim Yehezkel Braun

performed by Schola Repertory Singers

Verses �–2: Al mishkavi baleilot bikashtiVerses �–�: M’tsauni hashom’rimVerse �: Hishbati etchem b’not YerushalayimVerses 6–8: Mi zot olah min hamidbarVerses 9–�0: Apiryon asah

Caroline L. Sargent, soprano

Verse ��: Ts’ena ur’ena b’not tsiyon ❦Quartet: Gail Watson, soprano; Katherine Bolcar, alto:

Alexander Wentworth, tenor; Salvatore Spataro, baritone

Upon Your Heart ❦ Eleanor Daley

VI—Prayer and Praise!Uri Tsiyon ❦ Moshe WilenskiHashkivenu ❦ Leonard Bernstein

Salvatore A. Diana, tenor

Hodu (from Psalms ��6 and ��8) ❦ Robert Starer

�8

Sanctus IXSanctus, sanctus, sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua.

Hosanna in excelsis.Benedictus qui venit in nomine Domini.Hosanna in excelsis.

Psalm 114In exitu Israel de Aegypto,

domus Jacob de populo barbarohayetah Yehudah lekodsho

Yisrael mamshelotav.Mare vidit et fugit.

Jordanis conversus est retrorsum.Heharim rakedu che’eilim

gevaot kivnei tson.Quid est tibi mare quod fugisti

ettu Jordanis quia conversus est retrorsum.Heharim rakedu che’eilim

gevaot kivnei tson.A facie Domini mota est terra

a facie Dei Jacob.H’hofechi hatsur agam mayim

chalamish lemaino mayim.

Mi Al Har ChorevMi al har chorev ha’amidi inyan kashav amod imadi

keMosheh.Mi midbar hinhig edri naleh bashor vali beri

keMosheh.Mi ritsah alai chanun um’rachem rachash v’al hara’ah tenachem

keMosheh.Mi chaz chizyon chak adot chazah bemareh velo bechidot

keMosheh.

Maoz TsurMaoz tsur yeshuati lecha naeh leshabe’ach. Tikon bet tefilati vesham todah nezabe’ach.L’et tachin matbe’ach mitsar ha’menabe’ach.Az egmor beshir mizmor chanukat

hamizbe’ach.Eterna forza salvatrice, Beati noi l’elgiamo.Restaur’a me il santuario Grati lieti le serviremo.I nemici anienti! Pur’ annuli i pagani! Allora cantaro, in lorde finiro, dedicar il sacr’altar.

Sh’ma YisroeylSh’ma yisroeyl adonoi eloheynu, adonoi echod.

Holy, holy, holy, Lord God of HostsHeaven and earth are full of thy glory.

Hosanna in the highest.Blessed is he that comes in the name of the Lord.Hosanna in the highest.

When Israel went out from Egypt, the house of Jacob from a people of strange language,

Judah became God’s sanctuary, Israel his dominion.

The sea looked and fled; Jordan turned back.

The mountains skipped like rams, the hills like lambs.

Why is it, O sea, that you flee? O Jordan, that you turn back?

O mountains, that you skip like rams? O hills, like lambs?

Tremble, O earth, at the presence of the Lord, at the presence of the God of Jacob,

who turns the rock into a pool of water, the flint into a spring of water.

Who stood on Mount Horeb, absorbing the content of “Stand with me,” (Deut. �:28) as Moses?

Who led my flock in the desert, bringing forth water by saying “Arise, well!” (Numbers 2�:�7) as Moses?

Who asked me for mercy saying “Repent of this evil,” (Exodus �2:�2) as Moses?

Who envisioned statutes for multitudes “in revelation, and not in riddles,” (Numbers �2:8) as Moses?

The soul cannot suffer more, wounded, collapsing in bondageDestroyed by cruelty, drowned in blasphemy.But with what force did you free your people,While Pharaoh with his soldiers were drowned at the bottom of

the seaO rock of strength, my salvation, it is delightful to praise youRestore my house of prayer, so we may again offer thanksgivingWhen you prepare the slaughter of the blasphemous enemyWith a musical psalm I shall finish the dedication of the altar.

Hear, O Israel, the Lord our God, the Lord is One.

Texts and Translations

�9

Sim ShalomSim shalom, sim shalom, sim shalom tovah uv’racha.Cheyn vachesed v’rachamim aleynu v’al kol yirey sh’mecha.Sim shalom, sim shalom.Bar’cheynu Avinu kulanu k’echad b’or panecha ki v’or panechaNatata lanu Adonai Eloheynu Torat chayim v’ahavat chesed.Uts’dakah, uv’racha v’rachamim v’chayim v’shalom.Sim shalom, sim shalom, sim shalom tovah uv’rachav’tov b’eynecha l’vareych et amcha Yisraeyl v’et kol ha’amim b’chol

eyt uv’chol sha’ah bishlomecha.Sim shalom, sim shalom, sim shalom tovah uv’rachaCheyn vachesed v’rachamim aleynu v’al kol Yisraeyl amecha.Sim shalom, sim shalom.Baruch atah Adonai,Baruch hu uvaruch sh’mohoseh hashalom, Ameyn.

Cadosh, cadosh�

Cadosh, cadosh, adonai cherubim.Cadosh, sismihar Karumbrael. Karumbrael.Rausar maho et idirorum. Id’rorum naiso soposoDislacherubim, dislacherubim ameabul ameabul lumbi, lumbi, laridiscaho;cadosh, cadosh, cadosh.

Elohim HashivenuElohim, hashivenu.Veha’er panecha, venivashea.Elohim tsevaot, hashivenu.Veha’er panecha, venivashea.Adonai, Elohim, tseva’ot,

hashivenu.Ha’er panecha, venivashea.

Super flumina BabylonisSuper flumina Babylonis, illic sedimus,

et flevimus dum recordaremur tui, Sion.

Eftakh Na SefatayEftach na sefatai v’e’ene beron

l’El chai ashir binso’ah ha’aron.M’hulal ekra El et yishenu yoel,

uva l’Tsiyon goel, nikra az be’garon.

l’El chai ashir binso’ah ha’aron.

� See also the program notes, on page 8

Grant peace to the world, with happiness, blessing, gracelove and mercy for us and for all the people IsraelGrant us peace, grant us peace.Bless us, our Father, one and all, with Your lightfor by that light did You teach us Torah and life,love and tenderness, justice, mercy and peace.Grant peace to the world…May it please You to bless Your people Israel

in every season.Grant peace to the world…love and mercy for us and for all the people Israel.Grant us peace, grant us peace.Praised are You, Lordwho blesses his people Israelwith peace. Amen.

Holy, holy, Lord of cherubimHoly…My friend and shepherd…

…angels…

Holy, holy, holy

O Lord God, turn our hearts unto Thee.Shine Thy light upon us, and we shall be saved.O Lord God Almighty, turn our hearts unto Thee.Shine Thy light upon us, and we shall be saved.Our Father, O Lord God, Almighty,

turn our hearts unto Thee.Shine Thy light upon us, and we shall be saved.

By the rivers of Babylon—there we sat down and there we wept when we remembered thee, O Zion.

Let me open my lips and give utterance to joyous song. I will sing to the living God for His Ark moves before us.

When God grants us His salvation, then will I declare His praises;When the redeemer comes to Zion my throat shall call out in joy.

Refrain: I will sing to the living God for His Ark moves before us.

Texts and Translations

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Eftakh Na Sefatay, continued...Tiftach erets yesha, lit’filat dach tisha,

v’Yisrael nosha, ul’shon ilem taron.

Tashiv shevuteinu, El chai go’alenuunshalem nedarainu, vechiper Aharon

Yafutsu El oyvecha, yaronu te’evecha,

yom tariv et rivecha yashuvu levitsaron.

Hen na’avor ge’ulim, velanu El elimma’oz vechayalim yigaber veyitron.

Chizki na El tehi, venas yagon vahi,Nashir, nashir kenam vay’hi binso’ah ha’aron.

Eftakh na sefatay ve’e’ene beron l’El chai ashir binso’ah ha’aron.

Tov LehodosTov lehodos l’Adonoi,

uli’zamer leshim’chah elyon.Lehagid baboker chasdechah,

ve’emunahschah ba’leilos.Aley ahsor va’aley nahvel,aley higahyon bi’chinor.Ki simachtani Adonoi befah’ahlechah,bema’asey, bema’asey yahdechah aranen,

bema’asey yahdechah aranenMa gadlu ma’asechah Adonoi,

me’od ahmeku machshevosechah.Ish ba’ar lo yaddah, uchsil lo yahvin es zosBifroach reshawim ke’mo eysev

vayahtsitsu kol poaley ahven.Lehishahmdahm adey ad.Veatah mahrom le’olam Adonoi.

He, watching over IsraelHe, watching over Israel, slumbers not nor sleeps.Shouldst thou walking in grief languish,He will quicken thee.

Hearken to the prayer of the oppressed, let deliverance spring from the earth

Then shall Israel be saved and the muted tongue shall find song.[Refrain]

Return our captivity, O Living Redeemer.Then through the offerings we vow shall Aaron the priest atone

for us. [Refrain]Scattered, God, be Thine enemies, joyous be those who long for

Thee.When Thy cause is victorious and they return to the holy

Stronghold. [Refrain]The redeemed shall march on for God their FortressShall conquer, shall prevail. [Refrain]

Be Thou our strength, banish sorrow and lamentation;Then will we sing as once we did when His Ark moved on before

us. [Refrain]Let me open my lips and give utterance to song;

I will sing to the living God for His Ark moves before us.

Come, give thanks to the Lord God, and sing praises to His name on high;

and declare by day His mercy, in the night sing of His faithful love.

Come praise the Lord with the lyre and harp, with joyous song come praise the Lord.

For Thou hast shown me the beauty of Thy creation; rejoicing, rejoicing in Thy works I shall praise Thee,

rejoicing in Thy works I shall praise Thee. Thy creation, O Lord, is above all praise,

and how deep, O Lord, are Thy meditations The wicked know it not, nor does the fool understand. The wicked may succeed and may prosper

and may flourish in pathways of evil. So destroy them forever. For the Lord on high is everlasting.

Texts and Translations

2�

Texts and Translations

The Caldwell College Music Department

welcomes Dr. Deborah Simpkin King as

director of the Caldwell College Choir.

FOR INFORMATIONabout the Music Department please contact Dr. Nan Childress-Orchard atnchildress@caldwell.edu

passiona t r a d i t i o n o f p r o m i s e

cath

olic diversity

Haleluyah (Psalm 150)Haleluyah, halelu et bekodeshoHaleluhu birkia uzo.Haleluyah bigvurotavHaleluhu kerov gudlo.Haleluhu beteka shofar.Haleluhu benevel vechinor.Haleluhu betof umacholbeminim veugav.Haleluhu betsiltsele shamaHaleluhu betsiltsele t’ruah

kol han’shamah tehalel yah,Haleluyah.

The Peaceable Kingdom, VIIHave ye not known? Have ye not heard?Hath it not been told you from the beginning?Have ye not understood from the foundation of the earth?

Praise the Lord!Praise God in his sanctuary; Praise him in his mighty firmament!Praise him for his mighty deeds;Praise him according to his surpassing greatness!Praise him with trumpet sound;Praise him with lute and harp!Praise him with tambourine and dance;Praise him with strings and pipe!Praise him with clanging cymbals;Praise him with loud clashing cymbals!Let everything that breathes praise the Lord! Praise the Lord!

The Peaceable Kingdom, VIIIYe shall have a song, as in the night when a holy solemnity is kept, and gladness of heart, as when one goeth with a pipe,to come into the mountain of the Lord.

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Texts and TranslationsEin K’eiloheinuEin k’Eiloheinu.Ein k’AdoneinuEin k’Malkeinu.Ein k’Moshieinu.

Mi k’Eiloheinu?Mi k’Adoneinu?Mi k’Malkeinu?Mi k’Moshieinu?

Nodeh l’lo’heinu.Nodeh l’Adoneinu.Nodeh l’Malkeinu.Nodeh l’Moshieinu.

Baruch Eloheinu.Baruch Adoneinu.Baruch Malkeinu.Baruch Moshieinu.

Atah hu Eloheinu.Atah hu Adoneinu.Atah hu Malkeinu.Atah hu Moshieinu. (repeat first refrain)

An American KedushahN’kadeish et shimcha ba-olam k’sheim shemakdishim oto bishmeikakatuv al yad n’vi-echa“v’kara zeh el zeh v’amar:‘Kadosh, kadosh, kadosh Adonai tz’va-otm’lo chol ha-aretz k’vodo.’”Az b’kol ra-ash gadol adir v’chazak machmi-im kolmitnas’im l’ummat s’rafim,l’umatam baruch yomeiru:“Baruch k’vod Adonai mim’komo.”Mim’komcha malkeinu, tofia,v’timloch aleinu ki m’chakim anachnu lach.Matai timloch b’Tziyon?B’karov b’yameinu l’olam va-ed tishkon.Titgadal v’titkadash

b’toch Y’rushalayim ir’cha,L’dor vador ul’neitzach n’tzachim.V’eineinu tirenah malchutechakadavar ha-amur b’shirei uzecha.Al y’dei David m’shi-ach tzidkecha:“Yimloch Adonai l’olam Elohayich tziyonl’dor vador, Hall’luyah.”L’dor vador

nagid godlecha,ul’neitsach n’tsachim k’dushatcha nakdishV’shivchacha Eloheinu mipinu

lo yamush l’olam vaed, ki Eil melech gadol v’kadosh atah.Baruch atah Adonai ha-Eil hakadosh. Amein.

There is none like our God. There is none like our Lord. There is none like our King None like our Savior.

Who is like our God?Who is like our Lord?Who is like our King?Who is like our Savior?

We’ll give thanks to our God. We’ll give thanks to our Lord. We’ll give thanks to our King. We’ll thank our Savior.

Blessed is our God.Blessed is our Lord.Blessed is our King.Blessed is our Savior.

You are our God.You are our Lord.You are our King.You are our Savior. (repeat first refrain)

We will sanctify Your name in the world just as they sanctify it in the heavens high as it is written by the hand of your prophet “and they called to one another and said: ‘Holy, holy, holy [is the] Lord of hosts The fullness of all the earth [is] His glory.’” Then with the sound of great rushing Mighty and strong, they make their voice heard raising themselves up towards the angels (Seraphim) Those facing them say, praise: “Praised [is] the glory of the Lord from His place.” From Your place our King you will appear And you will rule over us because we yearn for you When will you rule in Zion? Soon in our days forever you will dwell there. You will be exalted and sanctified

within Jerusalem your city From generation to generation and for all eternity. And our eyes, may they see Your kingship As it is said in the words of the songs of Your might,By David anointed of your righteous ones:“The Lord will rule forever, Your God, O Zionfrom generation to generation, halleluyah.”From generation to generation

we will tell of Your greatnessand to all eternity Your holiness we will sanctifyAnd your praise our God from our mouths

shall never depart forever and ever Because O God our King, great and holy [are] You.Praised are You, O Lord our holy God. Amen.

2�

Texts and Translations

Verses 1–2Al mishkavi ba’leilot bikashtiveit she’ahavah nafshi.Bikashtiv v’lo matsativAkumah na va’asov’vah v’eerbash’vakim uvar’chovot.Avakshah, avakshaheit she’ahavah nafshiBikashtiv v’lo m’tastiv.

Verses 3–4Mitsauni hashom’rim hasov’vim bairEit she’ahavah nafshi ri’itemKimat sheavarti meihem ad shematzatieit she’ahavah nafshiAchaztiv, achaztiv, v’lo arpenu.Ad shehaveitiv el beit imiv’el cheder horati.

Verse 5Hishbati etchem b’not Yerushalayimbitsvaot o b’ailot hasadeh.im ta’iru v’im t’or’ru et ha’ahavah ad shetechpatz

Verses 6–8Mi zot olah min hamidbar k’tim’rot ashanm’kuteret mor ul’vonah mikol avkat rocheil.Hinei mitato shel’Shlomoshishim giborim savivlah,migiborei Yisrael.Hinei kulam achuzei cherev mi’lem’dei

mi’lem’dei milchamah,ish charbo al y’reicho mipachad ba’leilot.

Verses 9–10Apiryon asah lo ha’melech Shlomo

meiatsei hal’vanonAmudav asah chesef r’fidato zahav

merkavo argaman,tocho ratsuf ahavah mi’bi’not Yerushalayim.

Verse 11Ts’ena ur’ena b’not tsiyon ba’melech Shlomoba’atarah she’itrah lo imo

b’yom chatunato.uv’yom simchat libo.

Come to me now as I lie here dreaming,come, O my beloved one.I called out; he answered me not.I shall arise, I shall search about the town,through the streets and through the squares.Is he there? Is he there?come, O my beloved one.I called out; he answered me not.

O you watchmen, upon the walls; you watch the city gates.Have you seen the one I love? Have you seen?But lo, as I went on my way there he was standing.I had found the one I love.Stay with me, stay with me, don’t ever leave me!Come into my home, into my life,to the home where I was born.

Come listen to me, come all you daughters of Jerusalem,promise me, swear that you’ll heed my advice.When your heart opens until your soulcan no longer wait then you’re in love!

What’s that I see approaching nigh, across the desert sandsin a cloud of myrrh and frankincense? A wonder to behold!Behold ye the palanquin of Solomonsurrounded by bravest of heroes,the bravest of the men of Israel, behold and see!Behold and see! a legion of heroes,

a royal battalion of armored men.Flashing swords, unsheathing steel, the guardians of the night.

A great throne was fashioned for Solomon the king from the finest of all wood.

See the posts are of silver, the ceiling shines with gold, and its seat purple wool,

while all around filled with love of the daughters of Jerusalem.

Daughters of Zion come out and see King Solomon arrives,wearing the crown his mother made to adorn him on this his

wedding day,on the day of his greatest joy.

Shir haShirim (The Song of Songs, Chapter 3)

2�

Texts and TranslationsUpon Your HeartSet me as a seal upon your heart, as a seal upon your arm, for love

is strong as death.Many waters cannot quench love,

neither can the floods drown it.If you keep my commandments,

you shall abide in my love;

Uri TsiyonUri tsiyon, hoy, uri livshi uzeich,

livshi bigdei tifarteichY’rushalayim ir hakodesh.Ki lo yosif yavo vach, yavo vach

od areil v’tamei.Hitna’ari meiafar

hitna’ari Y’rushalayim

HashkivenuHashkivenu, Adonai Eloheinu,l’shalom v’ha-amideinu,Malkeinu, l’chayim.Uf ’ros aleinu sukat sh’lomecha,v’tak’neinu b’eitsa tova mil’fanecha,v’hoshi-einu l’ma-an sh’mecha,v’hagein b’adeinu.V’haseir mei-aleinu oyeiv, dever,v’cherev, v’ra-av, v’yagon,V’haseir satanmilfaneinu u’mei-achareinu.U’v’tseil k’nafecha tastireinu.Ki Eil, shom’reinu u’matsileinu,Ki Eil, Melech chanun v’rachum Atah,U’sh’mor tseiteinu u’voeinul’chayim u’l’shalom,mei-atah v’ad olam.Uf ’ros aleinu sukat sh’lomecha.Baruch Atah Adonai,hapores sukat shalom aleinuv’al kol amo Yisrael,v’al Y’rushalayim.

HoduHodu ladonaiHallelu et Adonai, Halleluhu bamromim.Halleluhu shemesh veyareiach, Halleluhu kol

kochvei or.Ki le olam chasdo.Hallelu et Adonai, min hashamayim.Halleluhu bamromim.Ki tov.

Upon Your Heart, continuedLove one another as I have loved you;

then shall your joy be complete.Set me as a seal upon your heart, as a seal upon your arm, for love

is strong as death.

Awake, awake, O Zion!Clothe yourself in splendor;Put on your robes of majesty,Jerusalem, holy city!For the uncircumcised and the uncleanShall never enter you again.Arise, shake off the dust,Sit on your throne, Jerusalem!

Cause us to lie down, O Lord our God,in peace, and raise us up,Our King, to life (renewed).And spread over us the shelter of Your peace,and guide us with Your good counsel,and save us for Your name’s sake,and protect us.And remove from us enmity, pestilence,and war and hunger and anguish,And remove the evil inclinationfrom before us and from behind us.And hide us in the shadow of Your wings.For God, You are our Watchman and Deliverer,For God, a gracious King and merciful are You,And guard our going out and coming into life and to peace.From this time forth and forever more.And spread over us Your tabernacle of peace.Blessed are You, O Lord,who spreads the tabernacle of peace over usand over all His people,and over Jerusalem.

Glory to the LordSing your praises to the Lord, let the heavens ring with song.Let the moon and sun tell of His glory, let His name be praised

by all stars.For His good will endures forevermore.Sing your praises to the Lord, you hosts of heaven.Let the heavens ring with song.Praise Him.

2�

is eagerly anticipating its first collaborative rehearsal with The Nut ley High

School Chorale t t e s . Dr. King, who has met with The Choralettes twice,reports that “these young women sing well, and are very attentive andresponsive to rehearsal suggestions. The two groups should have a lot of funsinging together.”

Nicole SanGiovanni, Director of The Nutley High School Choralettes, and SCH’srehearsal accompanist, says that “The Choralettes are very eager to performwith Schola Cantorum on Hudson and with Dr. King. This a good challenge forthem, and a wonderful opportunity to grow musically by working with otherchoral singers.”

As part of its mission of high impact through music in our community, Schola

Cantorum on Hudson collaborates with a choir of young people in one of itsconcerts each year. In preparation for this collaboration, Dr. King meetswith the students a number of times in rehearsal. The goal of this branch ofour Music Education Outreach Program is to provide a memorable musicalexperience for young singers that will encourage them to seek out singingensembles once they are adults.

Do you know a choir that you think might want to apply to become aCantorum Kids group? Let us know at 201-918-3009!

Applications are now being accepted for the

Choral Scholar Program

High school sophomores and juniors are eligible.

Please see page 26, and visitscholaonhudson.org/Scholar.htm

for more details.

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Educational Outreach and “Inreach”From its inception, the leadership of SCH has been involved in music education outreach in our extended community. The Choral Scholar Program is only one way that SCH reaches out to the community. The Cantorum Kids program invites a selected choir of young people (elementary, middle, high school, or independent youth choir) and its director to work with our Artistic Director periodically throughout the year in preparation for collaboration on a selected concert.

Sight-Singing Classes provide an introduction to the fundamental elements of music necessary to the development of sight-reading skills. Advanced classes can be scheduled upon request.

Our commitment to fine music education is not only without, but also within SCH. In January of 2006, SCH took the new and innovative step of offering its members the opportunity to refine their understanding and application of advanced vocal technique through a weekly voice class taught by Dr. Deborah Simpkin King. Visit www.scholaonhudson.org for more information about any of these educational programs offered by Schola Cantorum on Hudson.

About the Choral Scholar ProgramSCH’s Choral Scholar Program is designed for high school juniors and seniors of outstanding vocal promise who intend to pursue a career in music. The Choral Scholarship enables the student to participate fully as a singing member of SCH and to receive partial tuition for private vocal instruction. SCH experience, training, and written recommendations go with our Scholars as they apply to various conservatories and music schools. Scholars are selected toward the end of their sophomore or junior year through a process that includes submitting application materials, undergoing singing and sight-reading auditions with the Artistic Director, and meeting for interviews with the SCH Educational Outreach Committee.

If you, as a teacher, parent, student, or friend, know of a young person you feel might qualify for our Choral Scholar Program, please contact our Artistic Director by phone (20�-9�8-�009) or e-mail (cantate@DSKsing.com). Additional information about this program may be obtained by visiting our web site, www.scholaonhudson.org.

Choral Scholar UpdateOur fourth Choral Scholar, Crystal Charles, is a sophomore at Westminster Choir College majoring in vocal performance. Last November, Crystal took first place among freshman women in the statewide vocal competition sponsored by the National Association of Teachers of Singing. José Candelaria, our third Scholar, completed his degree in Vocal Jazz at the University of Miami this past spring. We are delighted that he is singing with us again! Gilberto Gómez, our second Choral Scholar, graduated from Westminster Choir College in 200� and toured with a theater company, before returning to Schola Cantorum in January of 2006 as a full singing member. Our very first Choral Scholar, Natasha Badillo, also joined Schola Cantorum on Hudson as a full singing member during the 200� season.

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Professional Development CreditsAs part of our continuing dedication to making a profound impact in our community, Schola Cantorum on Hudson has Provider status for Professional Development Credits required by the State of New Jersey of all public school teachers. Singing members who teach in a New Jersey public school can now receive these credits for their singing participation in Schola Cantorum on Hudson.

Capture life’s moments with beauty and distinction—

Jennifer MareckiPhotographer

347-307-0874Jennifer_Marecki@yahoo.com

21-06 45th Avenue, Apt. 1ALong Island City, NY 11101

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AcknowledgementsThe work of Schola Cantorum on Hudson

is made possible in part by generous grants from

The Frank and Lydia Bergen Foundation The Provident Bank Foundation

and

the New Jersey State Council for the Arts/Department of State a Partner Agency of the National Endowment for the Arts,

administered by the Hudson County Office of

Cultural & Heritage Affairs/Tourism Development and by

the County of Hudson, Thomas A. DeGise, County Executive and the Board of Chosen Freeholders

We wish to express our deepest appreciation for the hospitality of Holy Rosary Roman Catholic Church and Fr. Rino Lavaroni

who make us welcome both for regular rehearsals and home performances

Special thanks also to our gracious hosts for our “away” concerts Caldwell College and Dr. Laura Greenwald, Chair of the Music Department

and St. Malachy’s Roman Catholic Church (the Actors’ Chapel) and Fr. Richard Baker

Deepest gratitude to Mary Lou West, our dedicated concert day helper, and also to Emma Solberg, Elizabeth McAdams, Gideon McAdams, Donald Siegel,

and the many other concert day helpers.

Many thanks also to Merav Hoffman and Jonathan Lennox for their kind assistance with proofing Hebrew transliterations into the wee hours.

29

Expect theUnexpected!

Expect theUnexpected!

With world-class theater, music, dance and museums, New Jerseyaudiences are the real winners.Discover the excitement for yourself…”

Meryl StreepAcademy Award-Winning ActressBernards High School Bernardsville, New Jersey

“

Created by Wordsmith Communications Group, Inc.Photography by Timothy White

www.jerseyarts.com1 800 THE ARTS

Get your free Jersey Arts Resource Guide and Jersey Arts Ticket discount card!

�0

Four distinctive voices.One truly unique sound.

Beyond WordsPoetry of Rilke, Dickinson, and Browning

Music of Debussy, Ravel, Bach, Billy Joel, and the Beatles

Sunday, April 22, 4:00pm, Caldwell College, Caldwell NJTuesday, April 24, 8:15pm, The Actors’ Chapel, Midtown NYC

Thursday, April 26, 7:30pm, St. John’s-in-the-Village, West Village NYC

Call 973-698-6927 or visit web site for directions and other details:www.chantezsingers.com

Laura GreenwaldSoprano

Deborah KingMezzo Soprano

Salvatore A. DianaTenor

Sal SpataroBass

��

Price: $15 each

Want to take Schola home with you?We can arrange that!

Our complete discography is availablefor sale at the reception table.

�2

Schola Cantorum on Hudson Board of Directors

Salvatore A. Diana, ChairmanCaroline L. Sargent, Vice Chair

Salvatore Spataro, TreasurerPenelope A. Vance, Secretary

Daniel Brondel, Asst. SecretaryTrayton Davis, Jim Gard, Alexander Wentworth, Sophia Zalios

Artistic Vision & PlanningDaniel Brondel, Coordinator

Deborah Simpkin King, Artistic Director

CD ProductionSalvatore Spataro, Coordinator

Salvatore A. Diana, Marlene Karu, Deborah King

DevelopmentCaroline L. Sargent and Penelope A. Vance,

C0-CoordinatorsDaniel Brondel, Trayton M. Davis,

Sandy Martiny, Alexander Wentworth, Roger West

EducationDaniel Brondel, Coordinator

Frank Borroto, Deborah King, Sara Solberg

FinanceSalvatore Spataro, Coordinator

Bernadette Oberndorf, Alexander Wentworth

MarketingSalvatore A. Diana and Sophia Zalios,

Co-CoordinatorsChristina Blosser, Frank Borroto, Robyn Entlich

PublicationsKaren Lea Siegel, CoordinatorRobyn Entlich, Neela R. Taub

PublicityJim Gard, Coordinator

Laura Clayman, Linda Gard, Gordon King, Diane Michael, Caroline L. Sargent

VenueBernadette Oberndorf, Coordinator

Deborah King, Joyce Nestle, Caroline L. Sargent

Special anks ToFrank J. Borroto, Pre-Sold Tickets Coordinator

Bernadette Oberndorf, Concert Day OperationsNeela R. Taub, Music Librarian

Alexander Wentworth, Disabilities CoordinatorRoger K. West, Database Manager

SCH is committed to accommodating audience members with disabilities whenever possible. If you require special assistance on the day of the concert,

please contact us in advance and every effort will be made to assist you.

Deborah Simpkin KingArtistic Director

The Exciting Conclusion of our 12th Season…

Cinco De Mayo Celebration Choral Music of Colonial & Contemporary Mexican Composers

Friday, May 4: Christ & St. Stephen’s Church, 8pm • New York City

Spring is in the Air Brahms’ Liebeslieder Walzer & Dvorak’s Songs of Nature

Monday, May 14: The Actors’ Chapel, 7:30pm • New York CitySunday, May 20: Holy Rosary Church, 4:00pm • Jersey City, NJ

Now accepting applications for our Choral Scholarand Cantorum Kids programs.

For more information about our performance and educational offerings, please visit www.scholaonhudson.org.

Sacred BridgeExploring the Judeo-Christian Choral Connection

Sunday, March 11, 2007 Caldwell College • Caldwell, NJ

Sunday, March 18, 2007 Holy Rosary Church • Jersey City, NJ

Monday, March 19, 2007 The Actors' Chapel • New York City